GREEK RUINS.—The mention of Greek literature leads one naturally to speak of the work done in this century in that land which stands so much nearer to us and to modern culture in general than either Babylonia or Egypt. While, thanks to the activity and industry of Greek and Roman historians, the records of the inspiring history of the Greek states during their most glorious epoch are well preserved, the earlier periods were enveloped in doubt and obscurity, while of the remains of Greece, of her beautiful temples and her famous works of art, comparatively few vestiges remained above the soil. The most notable of these were the Parthenon and the Erechtheum, with their works of art, that stood on the Acropolis, and it is precisely here that some of the most remarkable archæological discoveries of the century were made. The Parthenon dates from that glorious period in the history of Athens which follows in the wake of disasters in the fifth century, when the Persians entered the city and laid waste its beauties. The earlier Athens, which reached its zenith in the days of Pisistratus, has been brought to light through the excavations conducted by the Greeks themselves. In 1882 a systematic excavation of the Acropolis, under the auspices of the Greek Archæological Society, was begun. The foundations of the ancient Temple of Athena that stood close to the modern Parthenon were discovered, and numerous works of art, statues, fragments, pediments, bases and vases, dating from the earlier period, by means of which we are enabled to trace the development of Athenian sculpture from the rough beginnings to the perfection that it reached in the days of Phidias. The style of these earlier works differs totally from that which we had hitherto been accustomed to regard as the type of Athenian art, and yet even the rudest of the earlier statues possess already some of that charm which is so strongly felt in the works of the later period. Most remarkable, perhaps, among the remains of the earlier Athenians are a large series of figures that appear to have been set up in rows within the Temple of Athena. It is through these figures, dating from various periods, that we are best able to trace the evolution of Greek art. They are unquestionably votive offerings, the gift of faithful followers of Athena, and, while intended probably as representations of the goddess herself, but little care was taken to give the goddess those accompaniments in dress and ornament which are never absent in the best specimens of the later period. As a result of these excavations on the Acropolis, aided by the investigations of numerous scholars, among whom Ernst Curtius and William Doerpfeld merit special mention, the entire plan of the little sacred city that stood on the Acropolis can now be traced in detail. The construction of the beautiful Propylæa by Mnesicles, of which remains are still to be seen, has been determined,